DOCSLIB.ORG

Author: Title: Year

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Author: Title: Year This work is made freely available under open access. AUTHOR: TITLE: YEAR: OpenAIR citation: This work was submitted to- and approved by Robert Gordon University in partial fulfilment of the following degree: _______________________________________________________________________________________________ OpenAIR takedown statement: Section 6 of the “Repository policy for OpenAIR @ RGU” (available from http://www.rgu.ac.uk/staff-and-current- students/library/library-policies/repository-policies) provides guidance on the criteria under which RGU will consider withdrawing material from OpenAIR. If you believe that this item is subject to any of these criteria, or for any other reason should not be held on OpenAIR, then please contact [email protected] with the details of the item and the nature of your complaint. This thesis is distributed under a CC ____________ license. ____________________________________________________ THE DISCOURSE OF CULTURAL LEADERSHIP Jonathan Francis Richard Price A thesis submitted in partial fulfilment of the requirements of the Robert Gordon University for the degree of Doctor of Philosophy This research was carried out in connection with the On The Edge research programme at Gray’s School of Art, Robert Gordon University, Aberdeen, UK Funded by the Innovation, Design and Sustainability Research Institute (IDEAS) February 2016 ii Abstract The discourse of cultural leadership Cultural leadership has been a key concept in cultural policy and training since 2002. Most closely associated with the UK’s Clore Leadership Programme, it has been developed through various courses and initiatives domestically and internationally, initially as a response to crises of financial management and governance within major cultural institutions. This emergence of cultural leadership coincided with growing political interest in the social benefits of the arts and the economic potential of the creative industries. However, the concept is rarely clearly defined or critically analysed, while the political and economic environment in which the cultural sector operates has been transformed since the term was coined. This research investigates the evolution of cultural leadership as a discursive formation in these contexts. It traces the short history of the term itself and situates it within longer trajectories of cultural policy. Through critical discourse analysis the research questions the relationship between ‘cultural leadership’ and ‘cultural leaders’, asking who creates the circumstances in which art is produced and culture shaped. Leadership itself is reconsidered theoretically as an aspect of political action. Detailed interviews with influential cultural sector professionals are analysed as an empirical complement to literature around cultural history, policy and artistic leadership. The analysis reconfigures cultural leadership as a dynamic process arising from relationships between creative practice and social, political and organisational development. Outlining the respective roles of government, the public and the sector, it proposes a framework for understanding leadership through the interplay of action and influence within and beyond the cultural workforce. Indicating that cultural leadership has a vital critical role to play in democratic society, the research argues for more effective engagement between sectoral leaders, including artists, and questions of policy and cultural value. Its findings are significant for the future study and development of cultural leadership nationally and internationally. Keywords: culture, leadership, cultural leadership, discourse, cultural policy, artists, art and society, democracy. iii To Ellie iv Acknowledgements Preparing a Ph.D. is far from the solitary journey that some might imagine it to be and, as anyone who’s tried it will tell you, it’s your family, friends and fellow travellers who make the whole thing possible. Sincere thanks are due: To my principal supervisor, Professor Anne Douglas, who has given so generously of her time, energy and intellect to this research. Without Anne’s previous work this opportunity would not have existed, so, on many levels, thank you. Also to my other supervisors Professor Paul Harris (years 1 and 2) and Dr Robert Halsall (year 3), whose different forms of expertise and shared enthusiasm for the research have been enormously helpful. To all my participating interviewees who gave freely of their valuable time and considerable insight. Also to Stephan Wynants of EACEA, who helped set up the interviews with Barbara and Arnaud, and special thanks to François Matarasso and Chris Fremantle, who made additional time for me at various points on the way. Chris’s role in the Artist as Leader research alongside Anne was foundational to this work. To the superb community of research students at Gray’s of which I have been fortunate to be a part. Drs Chu Chu Yuan, Helen Smith, Melehat Nil Gülari and Peter Buwert showed me the ropes while Caroline Gausden, Hilal Bugali and everyone from the DART and Reading Group sessions helped keep me going. Special thanks to Hilal for her expert work on the illustrations for this thesis and to Caroline, Lance and Guyatri for welcoming me into their home. To my parents, Peter and Jennifer Price, who have been there for me throughout with kind words, interest and encouragement. Above all, to my wife Elaine, whose strength, wisdom and patience I have no adequate words to describe, but to whom this thesis is dedicated with love. v vi Table of contents Abstract iii Acknowledgements v Table of contents vii List of figures xii List of appendices xii Chapter 1: Introduction to the research 1 1.1. Background to the research 1 1.2. Questions, scope and assumptions 4 1.2.1. Cultural leadership as discourse 4 1.2.2. A personal perspective 4 1.2.3. Questioning cultural leadership 5 1.3. Thesis chapter outlines 6 1.3.1. Chapter 2: Method and theory 6 1.3.2. Chapter 3: Literature review and analysis 7 1.3.3. Chapter 4: The experience of cultural leadership: interview analysis 9 1.3.4. Chapter 5: Spheres of cultural leadership 11 1.3.5. Chapter 6: Conclusions 12 1.4. A note on definitions: culture, art and creativity 14 Chapter 2: Method and theory 17 2.1. Overview 17 2.2. Theoretical framework: principles of analysis 17 2.2.1. Understanding cultural leadership as a discursive construction 17 vii 2.2.2. Discourse analysis as interpretive perspective 20 2.2.3. Arendt’s theory of action 22 2.3. Interviews and interviewees 25 2.4. Uses of literature 35 2.5. Events, discussions, networks 37 Chapter 3: Literature review and analysis 39 3.1 Role and typology of literature in the research 39 3.2 From arts administration to cultural leadership 40 3.3 The establishment of cultural leadership 42 3.4 Artists as Leaders 45 3.4.1. Culture means business 45 3.4.2. Scenarios of artistic leadership 46 3.4.3. International dimensions of cultural leadership 50 3.5 Deeper waters: the cultural policy context 52 3.5.1. The background to arts funding in Britain 52 3.5.2. Cultural industries and the creativity agenda 56 3.5.3. Values and identity in cultural policy and leadership 63 3.6 Theories and concepts of leadership 65 3.7 New stages for cultural leadership 68 viii Chapter 4: The experience of cultural leadership 73 Analysis of research interviews 4.1. Range and purpose of research interviews 73 4.2. The cultural uses of leadership 74 4.2.1. Conceptions of leadership 75 4.2.2. Definitions of cultural leadership 78 4.2.3. Self-image and leadership style 84 4.2.4. Relating to others: cultural leadership as Arendtian action 88 4.3. Inhabiting the concepts 92 4.3.1. Language, rhetoric and discourse 92 4.3.2. Creative and cultural industries 96 4.3.3. The meanings of resilience 101 4.4. Quality and value 104 4.4.1. From principle to process 104 4.4.2. Unfortunate complexity: other qualities of culture 107 4.4.3. A question of trust 112 4.5. Relating to policy 116 4.5.1. Politicians and political influence 116 4.5.2. Advocacy 119 4.5.3. Funding 122 4.5.4. The legacy of managerialism 127 4.6. International perspectives 128 4.6.1. Internationalism as competence 128 4.6.2. Changing international relations: the case of the British Council 129 4.6.3. Other methods 131 4.6.4. Pattern and perspective 132 4.7. Locating the artist 133 4.7.1. Acting in the world 134 ix 4.7.2. Beauty as politics 137 4.7.3. Aesthetics and identity: the Phoenix Dance story 139 4.8. Leading cultural organisations 140 4.8.1. Constructed vehicles: purposes & limits of cultural organisations 141 4.8.2. Structure and culture 142 4.8.3. Wilful organisations 144 4.9. The public sphere 146 4.9.1. The relational turn 147 4.9.2. Community and public benefit 149 4.10. Cultural leadership training 152 4.10.1. Change-making: The Clore Leadership Programme 153 4.10.2. Other voices 156 4.10.3. Further directions 158 Chapter 5: Spheres of cultural leadership 161 5.1. The critical practice of cultural leadership 161 5.1.1. Leadership and authority 162 5.1.2. Art and contingency 164 5.2. Culture, policy and the public 167 5.2.1. The foundation of trust 167 5.2.2. Three dynamics 174 5.3. A framework for cultural leadership 179 5.3.1. Spheres of action 180 5.3.2. Spheres of influence 183 5.4. Summary 185 x Chapter 6: Conclusions 187 6.1. Locating cultural leadership 187 6.1.1. Hybrid content, relational style 188 6.1.2. Culture and charisma 189 6.1.3. The place of the artist in cultural leadership 191 6.2. Policy, leadership and value 193 6.2.1. Policy and uncertainty 193 6.2.2. Translation and articulation 195 6.2.3.
Load more

Recommended publications
  • Williams-Exeter Programme at Oxford University
    WILLIAMS-EXETER PROGRAMME AT OXFORD UNIVERSITY Director: Professor Gretchen Long THE PROGRAMME Williams College offers a year-long program of studies at Oxford University in co-operation with Exeter College (founded in 1314), one of the constituent colleges of the University. Williams students will be enrolled as Visiting Students at Exeter and as such will be undergraduate members of the University, eligible for access to virtually all of its facilities, libraries, and resources. As Visiting Students in Oxford, students admitted to the Programme will be fully integrated into the intellectual and social life of one of the world’s great universities. Although students on the Programme will be members of Exeter College, entitled to make full use of Exeter facilities (including the College Library), dine regularly in Hall, and join all College clubs and organizations on the same terms as other undergraduates at Exeter, students will reside in Ephraim Williams House, a compound of four buildings owned by Williams College, roughly 1.4 miles north of the city centre. Up to six students from Exeter College will normally reside in Ephraim Williams House each year, responsible for helping to integrate Williams students into the life of the College and the University. A resident director (and member of the Williams faculty) administers Ephraim Williams House, oversees the academic program, and serves as both the primary academic and personal advisor to Williams students in Oxford. Students on the Williams-Exeter Programme are required to be in residence in Oxford from Tuesday, 25 September 2018, until all academic work for Trinity term is complete (potentially as late as at least 28 June 2019) with two breaks for vacations between the three terms.
    [Show full text]
  • The History of Rock Music: 1970-1975
    The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality.
    [Show full text]
  • King's Research Portal
    King’s Research Portal DOI: 10.1080/10286632.2018.1557651 Document Version Early version, also known as pre-print Link to publication record in King's Research Portal Citation for published version (APA): Lee, H-K. (2019). The new patron state in South Korea: cultural policy, democracy and the market economy. International journal of cultural policy, 25(1), 48-62. https://doi.org/10.1080/10286632.2018.1557651 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository RUNAWAY FILM PRODUCTION: A CRITICAL HISTORY OF HOLLYWOOD’S OUTSOURCING DISCOURSE BY CAMILLE K. YALE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor John C. Nerone, Chair and Director of Research Professor James W. Hay Professor Steven G. Jones, University of Illinois at Chicago Professor Cameron R. McCarthy ABSTRACT Runaway production is a phrase commonly used by Hollywood film and television production labor to describe the outsourcing of production work to foreign locations. It is an issue that has been credited with siphoning tens of millions of dollars and thousands of jobs from the U.S. economy. Despite broad interest in runaway production by journalists, politicians, academics, and media labor interests, and despite its potential impact on hundreds of thousands—and perhaps millions—of workers in the U.S., there has been very little critical analysis of its historical development and function as a political and economic discourse. Through extensive archival research, this dissertation critically examines the history of runaway production, from its introduction in postwar Hollywood to its present use in describing the development of highly competitive television and film production industries in Canada. From a political economic perspective, I argue that the history of runaway production demonstrates how Hollywood’s multinational media corporations have leveraged production work to cultivate goodwill and industry-friendly trade policies across global media markets.
    [Show full text]
  • Capital and Culture
    Capital and Culture An Investigation into New Labour cultural policy and the European Capital of Culture 2008. Mark Connolly Presented in fulfilment o f the requirements for the degree o f Doctor o f Philosophy at the University of Wales, Cardiff. December 2007 UMI Number: U584278 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584278 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Statements of Declaration This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. Signed .. ...............(candidate) Date ........... STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD (insert MCh, MD, MPhil, PhD etc, as appropriate) Signed .. (candidate) Date M .U/L/.firk. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sourcesurces are acknowledged by explicit references. Signed (candidate) Date ....?. 9. /. I A./.^. STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations.
    [Show full text]
  • The Politics of Urban Cultural Policy Global
    THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12.
    [Show full text]
  • Culture and the Policies of Change Culture and the Policies of Change Conference Reader Conference Reader
    CultureWatchEurope Conference 2010 Culture and the Policies of Change Culture and the Policies of Change Culture and the Policies Conference Reader Conference Reader Brussels, 6-7 September 2010 European European Economic Commission and Social Committee EUNIC CultureWatchEurope Conference 2010 “Culture and the Policies of Change” Conference Reader TABLE OF CONTENTS Foreword................................................................................................................................................. 5 by Robert PALMER, Director of Culture and Cultural and Natural Heritage, Council of Europe Contribution on the Conference: Culture and the Policies of Change................................................... 7 by Jan TRUSZCZYŃSKI, Director-General for Education and Culture, European Commission Report on the Conference ...................................................................................................................... 9 by Steve GREEN, EUNIC Work Group Session Notes.................................................................................................................. 23 Background Papers.............................................................................................................................. 49 The Empathic Civilization by Jeremy RIFKIN................................................................................... 49 Empathic Education: the Transformation of Learning in an Interconnected World by Jeremy RIFKIN............................................................................................................................
    [Show full text]
  • Resetting the Stage PUBLIC THEATRE BETWEEN the MARKET and DEMOCRACY
    KLAIC DRAGAN KLAIC Resetting the Stage PUBLIC THEATRE BETWEEN THE MARKET AND DEMOCRACY By Dragan Klaic Resetting the Stage Commercial theatre is thriving across Europe, while public theatre has suffered under changing patterns of cultural consumption – as well as sharp reductions in government subsidies for the arts. At a time when the rationale behind these subsidies is being widely reexamined, it has never been more important for public theatre to demonstrate its continued merit. In Resetting the Stage, Dragan Klaic argues convincingly that, in an increasingly crowded market of cultural goods, public theatre is best served not by imitating its much larger commercial counterpart, but by asserting its artistic distinctiveness and the considerable benefit this confers on the public. Dragan Klaic was a well-respected theatre scholar and cultural analyst. In his versatile career, he was professor and lecturer at universities in Amsterdam, Belgrade, Bologna, Budapest, Istanbul and Leiden, and held various positions in numerous institutions and foundations world-wide – from director to board member or permanent fellow. Intellect is honoured to be publishing his final book. intellect | www.intellectbooks.com PUBLIC THEATRE BETWEEN THE MARKET AND DEMOCRACY Resetting the Stage 05473_FM_pi-xx.indd i 8/29/12 5:25:31 PM 05473_FM_pi-xx.indd ii 8/29/12 5:25:32 PM Resetting the Stage Public Theatre Between the Market and Democracy Dragan Klaic intellect Bristol, UK / Chicago, USA 05473_FM_pi-xx.indd iii 8/29/12 5:25:32 PM First published in the UK in 2012 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK First published in the USA in 2012 by Intellect, The University of Chicago Press, 1427 E.
    [Show full text]
  • Re-Visioning Arts and Cultural Policy
    Chapter 6: Managing creativity and cultivating culture Let us briefly summarise the case developed in this monograph. Government ideas about how to support arts and culture were traditionally very limited in their success and effectiveness. Historically, governments spent little on culture and what was spent tended to be earmarked for the elite arts sector. Arguably this support was not motivated by ambitions to broaden awareness of culture more generally in the community, but by notions of `showcasing' endorsed representations of elite culture. Support was given to major signature institutions which constituted an oasis of culture, often situated in major cities. Gradually, a greater range of activities began to be classified as `culture' and from the 1960s onwards, governments were persuaded to invest more widely in these various cultural activities. Two things happened in parallel: government financial support widened to include many new and different forms of culture (films, festivals, events, more institutions, local community developments), and the older forms of arts patronage became more and more expensive to operate and sustain (owing to escalating costs, increased investments, artistic purchases, artistic salaries, and bureaucratic administration). These parallel developments put considerable pressure on the system. On the supply side, production expanded as more people were able to practice various artforms and the costs of participating became more manageable to intending contributors. Changing technologies, better equipment, new media and more variable inputs meant that the arts and cultural sector was now more accessible to potential contributors. The sector became wide open to new players, not due to the policies of the old elite guard but due to initiatives of the new participants themselves.
    [Show full text]
  • 18 »20 Juillet 2008 » Iles Du Frioul, Marseille
    EDITO FerdiNAND RicHard ar la force des choses, et à quelques jours près, MIMI inaugure le volet musical de la P présidence française de l’Union européenne (sans pourtant figurer dans le catalogue du bazar… papier hyper-glacé…). FESTIVAL Coïncidence symbolique pour un petit festival qui, pour ateLieR l’émerveillement de nos amis d’ici ou d’ailleurs, met la 23ÈME vraie Europe en scène depuis maintenant 23 ans. ÉDitiON Mais l’Europe des musiques, c’est quoi ? On rêve d’une autonomie économique, de pratiques de proximité, de compagnonnages d’audace, d’exceptions culturelles dans toutes les périphéries (sans exception, VENDREDI pas simplement à Paris), de tribunes libres, de scènes 18 JUILLET ouvertes, de télévisions-régionales-partenaires-intel- 2008 FR. 18TH OF JULY 08 ligents-de-la-création-locale, d’une Europe ouverte aux artistes du monde, etc… en un mot, une approche Nuit “où ai-je “WHERE DID multi-latérale… DONC MIS MA I LEAVE MY 2008 Rien à voir avec le prestige national, ou avec les profits tête ?” HEAD?” nIGHT du loisir ou du tourisme de masse… Rien à voir avec la confiscation du bon goût, les terminaux de la consom- Kisetsu Première mondiale This night will certainly not be mation culturelle pour tous, les murs de la forteresse, la Résidence de création AMI the one of intense pogoting. LLET compétition des États. Avec le nationalisme rampant… soutenue par Mécènes du Sud Rather, it will present a dizzying I Dans ce pays et pendant ce semestre, particulièrement, Avec l’ensemble vocal le nom commun array of repertoires.
    [Show full text]
  • Beyond Green: the Arts As a Catalyst for Sustainability
    Beyond Green: The Arts as a Catalyst SESSION REPORT for Sustainability 561 Salzburg Global Seminar is grateful to the Edward T. Cone Foundation for its generous support of Session 561. We are also grateful for the additional support from the Robert Rauschenberg Foundation, the Bush Foundation, the David Rockefeller Fund and Red Bull Amaphiko. Salzburg Global Seminar would like to thank all participants for donating their time and expertise to this Session. Session 561 February 19 to 24, 2016, Salzburg, Austria Beyond Green: The Arts as a Catalyst for Sustainability Report Authors: Holly Sidford and Alexis Frasz Photos: Herman Seidl Cover Image: Mundano 03 Session 561 | Beyond Green: The Arts as a Catalyst for Sustainability Table of Contents 05 Summary 09 Introductory Session 11 Plenary Sessions 11 Opening Conversation: Artists Inspiring Change 13 Raising Awareness and Catalyzing Public Engagement 15 Learning from ArtCOP21 17 Changing Mindsets and Shifting Behaviors 19 The City as Driver of Change 22 Designs on the Future 24 Enablers of Change 26 Encouraging Bolder Policymaking 29 Fireside Chat: We Are What We Eat 31 Small Group Summaries and Recommendations 31 Regional Groups 32 Discussion Groups 32 Group 1 – Artists Catalyzing Change 33 Group 2 – Raising Awareness, Engaging the Public, and Changing Behavior 34 Group 3 – People and Planet: Connecting Stewardship, Justice and Prosperity 35 Group 4 – Sustainability and the City 36 Group 5 – Forging New Alliances and Partnerships for Exponential Change 38 Conclusion APPENDIX 40 List of Session Particitpants, Observers and Staff 04 Summary The creative sector is playing an increasingly significant role in raising awareness of climate change and encouraging sustainable social, economic, and environmental practices worldwide.
    [Show full text]
  • Literary Montage in the Writings of Jonathan Safran Foer, Aleksandar Hemon and W
    PHOTOGRAPHY AND TRAUMA IN PHOTO-FICTION: LITERARY MONTAGE IN THE WRITINGS OF JONATHAN SAFRAN FOER, ALEKSANDAR HEMON AND W. G. SEBALD By Romi Mikulinsky A thesis submitted in conformity with the requirements for the degree of Ph.D Graduate Department of English University of Toronto © Copyright by Romi Mikulinsky (2009) Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-67754-4 Our file Notre référence ISBN: 978-0-494-67754-4 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]